Considering the aestheticization of post-World War II research in cybernetics as part of a cultural shift in art practices and human and machine subjectivities, the author brings these spheres together by analyzing encounters between the experimental artists and researchers who wrote for and edited Radical Software in the early 1970s, including Harry A. Wilmer, Gregory Bateson and Paul Ryan. She then connects their experimental uses of video feedback (a central tenet of cybernetics) to new and increasingly pervasive human-machine subjectivities.

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